Master ClassDancing Around The Format...And Loving It!

Some photographers who for
years have been using the square format are having a difficult time
adapting to the "new" 35mm rectangular format that comes
out of most digital cameras. For the life of me I can't figure
out why. Although I was a little skeptical at first, I fell right in
with the new rectangular shape that I'm getting from my Canon
digital cameras. As a matter of fact, I'm beginning to love it!
Of course it's still possible to crop some of my images to squares,
but I'm enjoying the shape of things to come and even reveling
in it. It's added a whole new dimension to many of my images.
Frames? Undoubtedly, frame manufacturers are getting on the bandwagon,
too, and coming up with frames to fit the digital format.

Since I'm always composing through my viewfinder, I'm finding
it easy to adapt as I shoot. I simply fill the space before making each
exposure. As a means of demonstration here are a few images from a recent
class in Atlanta that was sponsored by my lab, Buckeye Photo Lab. As
you can see, several of the models were some of Atlanta's most
promising professional dancers.

Use Arms, Legs, Or Whatever You Have Available
In these first two images notice how I've placed the dancer's
hands on her hips, filling the space in both vertical and horizontal formats.
Crop to any other dimensions? Possibly, but why? It's so easy to
adapt most compositions to take advantage of the available space.

Lighting for these first illustrations was by a very large bank of windows.
The subjects were at least 10 ft from them. There was no need to include
the windows in the compositions, since they were used simply as a light
source. They were not meant to be a part of the photograph. By keeping
my subjects at a pretty good distance from the windows the light still
had direction, but was not as contrasty as it would have been, had the
dancers been right next to them.

Negative Space Can
Be Positive!
It's not always necessary to fill the entire framework of each photograph.
At times it's actually advantageous to crop for space around your
figures. Imagine, for instance, how crowded this image would be without
the empty space around the subjects.

This picture, too, was made with daylight coming through the bank of windows,
camera-left. Shadows from the flash? There weren't any. All available
light with the white balance set to "shade." Should you use
"automatic white balance"? Please don't! The color will
be all over the place.

White Against White!
Black Against Black!
Want to have your subjects jump right out from the picture? Blend the
clothing with the background. See how in this picture the white shirt
and the background become "one." You eye has to go to the
dancer.

Similarly, with dark skin against a dark background your eye goes to the
facial features. That's exactly why you need to have a light crossing
over the skin, creating specular highlights on the edge of the face, nose,
and arms. This studio portrait of another dancer is a perfect illustration
of how you need to have "kicker" lights crossing over the
subject to create a three-dimensional portrait of someone with dark skin.

Become aware of how light crossing over dark tones brings those areas
out in great detail. Without the use of two lights coming from behind
this man's portrait on both sides of his face he would be lost against
a dark background. Watch for similar lighting when you're looking
at television or a movie.

Taking Advantage Of
The Rectangular Format Is Easy...And Practical
The rectangular composition is perfect for this portrait of a young boy
with his instrument.

I've seen many portraits of people with their musical instruments.
Sometimes, by size alone, the props overshadow the main subjects. Add
to that the additional complexity of a subject placing his hands in "playing"
position and you have all sorts of distractions.

Why not simplify? Why not use just a part of the instrument? By including
just the edge of the guitar you get the message across. At the same time
you can concentrate on the face of your subject. Once again, the elongated
format works on your behalf. You see just enough of the guitar in this
picture without it taking attention away from the main subject in the
portrait.

Similarly, a man with his camera makes another interesting portrait.

The photographer in this portrait was in one of my recent classes. I found
his profile very interesting. Notice how I placed the edge of his face
almost in the center of the portrait, allowing him to look out into all
that space in front of him. The camera and the back of his shirt were
toned down in the final image. You look at the picture and see him. You
look a little closer and notice that he's holding his camera. That's
the way it should be. What's included in the portrait should be
there, and that includes the empty space, too!

More White Against
White...
Once you begin noticing light on the faces around you, you'll never
be the same. Lunch time at one of my classes became a practice in observation.
While eating at a nearby mall I noticed daylight coming through the atrium
onto this white staircase. Our model was dressed in a white top. It was
a foregone conclusion that this just had to be a location for another
portrait.

Even the "setup" picture of how the portrait was made works
as a picture in itself. The lines of the staircase were an incredible
design to enhance her portrait. Notice how the rectangular format lent
itself to the photograph. Then, cropping in to just the subject and the
background made an equally effective portrait, don't you think?

Did I have a problem adapting to this format after shooting square for
so many years? In my head I did, at least for the first five minutes.
Then, after that it became second nature to me.

So, if you've been dancing around wondering whether or not you're
going to get into the digital era, don't let the format get you
down. As a matter of fact, if you try it, you're gonna love it--the
same as I do!

In the meantime, I hope that you'll consider joining me for one
of my classes or for one of the Shutterbug excursions to Alaska this summer
or Miami in December. You can find out more details about my private classes
on my website, www.montezucker.com.